Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness.

I think of moving as a kind of saving grace.

At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.

When I went to Africa I think that was when I really found a way to deal with what I had recently discovered; in two-dimensional terms, at least.

The work is flowing from an inner knowing of how things really are.

I was never interested in making cool, distilled, pure objects.

I realized it wasn't necessary to work in the traditional methods of carving and casting.

The site I landed on feels much more isolated than it really is; it's almost magical. Within its limited radius, there was a whole range of the local ecology.

The fire was followed by a period of grieving and then by an incredible lightness, freedom, and mobility.

Your blessings are immeasurable. .

Believing takes practice.

Death might be a blessing if it means you never have to face this kind of grief.

Man is something to be surpassed.

Go as far as you can see; when you get there you'll be able to see farther.

He who can take no interest in what is small will take false interest in what is great.

The only person pressuring me is myself.

I was actually really happy with where my game was at. That's probably the most disappointing aspect.

Tread softly, Brathe peacefully, Laugh hysterically.

River gonna take me, Sing me sweet and sleepy, Sing me sweet and sleepy all the way back home, It's a far gone lullaby sung many years ago Mama, Mama, many worlds I've come since I first left home